My "Relief Painting", an intersection between painting and sculpture, is process driven, employing a streamlined version of the formation of fossils in nature. I use pigmented grout or gypsum to naturalize this technique. My work has become an investigation of my need to relinquish control of its final observed perception. I attempt to capture and preserve the remnant of the creative process and experience, not the particularity of its initial intent. I sculpt in wax or other soft organic material, on a sheet of tempered glass. I am physically working almost blind and in reverse. The layers I apply first are hidden by subsequent applications, but exposed again in their original order when the piece is cast. The original sculpting is totally lost during casting, much as organic material is lost or changed in the formation of fossils or sedimentary stone. The resulting image is a reversed negative textural image of the original design. A fossil does not always demonstrate an accurate indication of what was reality. I explore the contradiction of the initial intent and design, versus the somewhat random artifact left behind. What is lost in translation, versus what is gained through chance and reinterpretation. I am intrigued by the implied ambiguity of real events in relation to their interpretation in recorded history and the unpredictable consequences of initial actions and decisions.
Artifact No.6 31.5" x 31.5"